Resolute Bear Press Releases Bear, Coyote, Raven by Jason Grundstrom-Whitney

Bear, Coyote, Raven welcomes the reader into their shape shifting world, where themes of environmental degradation, violence, and technological troubles explore what we have lost and suggest solutions: to connect with the web of being and those blessed in their own right. An old native epigram invites us to walk in the moccasins of others, to be in touch with the present, aware of the past, and to laugh at our missteps. The poet asks us to take the time to invest our energy and to explore this different way of being.

Jason Grundstrom-Whitney’s poetry has been featured recently in 3 Nations Anthology: Native, Canadian & New England Writers, the Lewiston Sun Journal, and the Underground Writers Association’s Anthology of Maine Poets. He has read at the Belfast Maine Poetry Festival, Longfellow Days at the Brunswick Public Library, the Abbe Museum in Bar Harbor, Quiet City Books in Lewiston, the Harlow Gallery in Hallowell, and the Portland Public Library.  

Jason is a lifelong activist working for a number of causes including Native American rights, Sexual Assault and Domestic Violence survivors, Hospice and end of life care, homelessness, the environment and climate change, and bringing alternative medicine to allopathic medical thought.

A University of Southern Maine graduate and an LADC/LSW, Grundstrom-Whitney works as a Substance Abuse Counselor/Co-occurring Specialist at Riverview Psychiatric Hospital in Augusta. Past positions have included hospice social worker, school student assistance counselor, and Tai Chi, Qi Gong, Bagua, Xing Yi Quan, and meditation instructor.

Jason has studied with Thich Nhat Hanh, Joan Halifax, Ken Cohen, Shou-Yu Liang, Al Gardner, his Clan Mother Joan Dana, as well as his sister Brenda Lozada and numerous other Native Elders. He has been in recovery for 37 years and writes from his experiences hitchhiking around the U.S. for two and a half years learning from the many everyday masters across cultures he has met in his travels.  Jason is a husband, father, grandfather, and a Bear Clan member of the Passamaquoddy tribe.

The book has received advance praise: “In his impressive first book, Bear, Coyote, Raven, Jason Grundstrom-Whitney takes us deep into the mythic. These poems span many worlds from Deep Time to modern day powwows and move effortlessly between the sacred and irreverent, humor and awe, grief and resistance. This is storytelling at its best, poetry that sees so that we may see, songs that invite us into mystery, stories that heal,” Cheryl Savageau, nominated for the Pulitzer Prize and author of Mother/Land.

From Baron Wormser, former Maine Poet Laureate, “Playful, imaginative, respectful, insightful, droll, emotional, shrewd—these poems cast a spell that brings the reader into the very web of (the) earthly and beyond. The characters are classic Native figures—Bear, Coyote, Raven—that in his able hands take on very distinct lives. There are poem-stories in this book to live by and treasure, the old wisdom made new—a beautiful and real achievement.”

“This book is a dance of life, and Whitney’s words humble us with their beauty, sensibility, and ancient truth,” Claire Hersom, author, Drowning: A Poetic Memoir, from Moon Pie Press. Dr. Deborah Rosch Eifert noted, “Nothing is more urgently needed while we stand on the precipice of climate disaster than the spirit called forth in Bear, Coyote, Raven, and from Jay Franzel, organizer of the Bookey Reading series at the Harlow Gallery, “clearly Jason (Grundstrom) Whitney has spent a lot of time at all kinds of lonely crossroads—and come back full of blues and compassion and knowing, remembering, ‘a time when we walked together/for a short while.’” 

Resolute Bear Press published Off the Coast literary journal from 2008-2017. In 2018 they produced their first two books, The Martin Bormann Dog Care Book by Michael R. Brown and 3 Nations Anthology: Native, Canadian & New England Writers, edited by Valerie Lawson. 3 Nations Anthology won the Maine Literary Award for anthology and was selected by the Maine Humanities Council as one of the titles for their winter reading series in 2019. In 2020, the press will release Stories Our Grandmothers Told Us, a bilingual collection of stories in Passamaquoddy and English edited by Wayne Newell and Robert Leavitt. For more information about the press contact Valerie Lawson, 207-454-8026 or

3 Nations Anthology Update

I am excited that submissions are coming in for the 3 Nations Anthology! I have had a lot of computer troubles the last few weeks which has slowed down outreach and calls for submission. My computer was cleaned up, emails changed, and eventually I bought a new computer, and then had to have our router upgraded. Thankfully, everything is back and working now except for a couple of minor glitches synching some files.

Briefly, it felt like the universe was telling me not to do this project. The 3 Nations Anthology was conceived in a much more hopeful time. The increasingly nationalistic tone of the new administration makes this call for dialogue among neighboring nations all the more critical. We must keep communication open.

Last Sunday, the Portland Sun Journal published a poem I wrote after participating in a community project to build a birch bark canoe with Master Passamaquoddy artisan, David Moses Bridges. Over the course of two weeks, David coordinated a group of eager people at all skill levels to build an ocean-going birch bark canoe. It was a monumental undertaking as the cedar, birch bark, and spruce roots were fashioned using ancient methods into a canoe. David worked tirelessly and patiently taught everyone who needed instruction—this is how to form the bark, bend the ribs into place, how to join the pieces at the gunwales, carve the pegs to hold the pieces in place, lash them together with spruce roots, and seal the seams with a mix of pine pitch and bear fat.

The canoe, constructed in The Commons of the Cobscook Community Learning Center, slowly moved from a sheet of bark to a finished work as not just a vessel, but a work of art. It glowed in the center of the room with soft reflected light on the bark and the wood. The scent of spruce and the bark, and then the pine pitch and bear fat was intoxicating.

One day an expedition went out to gather more spruce roots, which became an opportunity to learn about gathering and prepping the roots. A lot of visitors stopped by during the two weeks. It was blueberry season, so someone dropped off a big bowl of wild Maine blueberries to snack on. One of the participants, a man from the Caribbean, made a batch of jerked porcupine stew. The locally renowned Grand Lake Stream style canoe builder Gump Miller checked in now and then and helped out.

When the canoe was finished, it was loaded onto a truck and driven to Sipayik where it would be launched. One of the builders said it was a strange feeling crossing so many streams along the way in a truck with a canoe on it. When the canoe arrived at Sipayik, it was blessed first at the Catholic Church in a dual ceremony with Elders and Catholic priests, and then at Split Rock by Passamaquoddy Chief Rick Doyle. The canoe was nudged into the waters of Passamaquoddy Bay where it made its maiden voyage. The canoe would be raffled off as a major fundraiser for the Save Passamaquoddy Bay organization, which works tirelessly to protect the bay.

A community was built in that room along with the canoe. This is what happens when people gather with purpose, when they are open, and when they work together. One of the builders said, “You could break this canoe in half and it would still float.” Though true, it is better to think of the canoe whole, to think of the people who built it, the people who shared the work of their hands to create it, and mostly David, for being the one who taught us so much and brought us all together.

We live in an area where we share many things. On either side of the border with Canada there are parks administered jointly by the US and Canada: Roosevelt-Campobello International Park (summer home of Franklin Roosevelt) and St. Croix Island (where Samuel Champlain landed and wintered in 1604).  Both countries claim Machias Seal Island, whose most famous inhabitants are a breeding colony of Atlantic Puffins, Razorbills, and Guillemots. The borders here are more like filters than walls.

Please send your submissions to the 3 Nations Anthology. The deadline is March 15. For complete guidelines click here and to submit your work visit:



3 Nations Anthology- Submission Call

3 Nations Anthology, a collection of writings by Native American, Atlantic Canadian, and New England writers. The anthology will be a conversation among writers of both prose and poetry.

Seeking works of short prose and poetry for this anthology which conveys what living here is like where 3 Nations exist close together; what we share and what keeps us apart. Send works that describe a life or an instant. Subject matter can be very broad, from borders and bridges, the water that flows around-under-through, the solid ground we stand on, the tides that alternately obscure and reveal, kinships, animosities, heritage, geography, dawn, dawn land, northern lights, moose meat stew, poutine, ployes, lobster, pollock, lumber, boat-building, pregnant cows, art, music, literature—anything that makes up life in this region where three nations share space, history, and the future.

Short Prose: Fiction or non-fiction, 5,000 words or less, flash and micro works encouraged. A single work greater than 1,000wds, 1-2 pieces less than 1,000 wds. Previously published work is OK if you hold the copyright.

Poetry: 1-3 poems, any style or format, less than 50 lines preferred. Previously published work is OK if you hold the copyright.

Ephemera: Hand written notes, recipes, and other items are welcome. Send scanned high resolution images in jpg, tif, psd, or pdf format.

Include a brief bio and a statement about your work. Query if you are unsure whether your work falls within the guidelines.

Deadline (online and postmark): March 15, 2017

Please submit online:


Or mail to:

Valerie Lawson
PO Box 14
Robbinston, ME 04671

My partner, Michael Brown, and I moved to Maine ten years ago from diverse communities where Michael worked as a teacher and I as a tech in an inner city hospital. We chose the Passamaquoddy Bay area for its unique setting, the arts community, and the presence of the Passamaquoddy tribe and Canada.

We had been part of the literary and spoken word communities in the Boston area where we organized literary events for decades, and published five books between us. We participated in cultural exchanges between Massachusetts and Ireland celebrating the United Nations Decade Calling for a Culture of Peace, and traveled extensively reading, performing, and teaching workshops. Shortly after we arrived in Maine we took over the publication of the literary journal, Off the Coast.

I attended the Bachelor of College Studies program at the University of Maine Machias where I created an individualized Electronic Publishing concentration, which included Book Arts with Bernie Vinzani, publishing experience, and computer design and coding classes. It is my goal to create this anthology not just as my final project, but as a lasting work of literary merit highlighting the many talented writers and spoken word artists in the tribal lands, Maine, and Atlantic Canada.


On to New Things

Previously, this blog followed work in the Book Design and Publishing course I took at the University of Maine at Machias. This was the biggest project I worked on as an editor to date. It was a great project, bringing back to life a historic Maine book by Mary Agnes Tincker, a roman à clef novel of incidents in the life of Father John Bapst, who was tarred and feathered in Ellsworth Maine by a band of No-Nothings in 1854.

otc_cover_summer2016Since the book was finished other projects have occupied my time, including another issue of Off the Coast poetry journal. Right now, the fall issue is in process. With a quarterly journal the process is continuous. While poems pour in another issue is under production, while you read poems and make editorial selections, another issue is being marketed and sold. You pray the printer’s schedule matches dates when you will be at events. A couple of years ago we were disappointed to find an issue would be unavailable to take with us to the Massachusetts Poetry Festival. On our way out of town, the UPS truck flagged us down and there on the side of Route 1, that great road that stretches from just north of our house all the way to the Florida Keys, we transferred the boxes from the truck to the car and went happily on our way.

This semester, I’m focusing on electronic publication. I was pleased to find that HTML and CSS skills are a great start. Currently, I’m taking a deep dive into to learn more about epub formatting and refining my skills with InDesign. Along the way, I had to detour through options for upgrading my Adobe CS5 to CS6. Opting for Creative Cloud for now (the student discount is worth it), the other option, to upgrade to CS6, now takes a phone call to customer support. CS6 or Adobe CC is necessary to have access to the Digital Publishing Suite in InDesign.

 “Creative Cloud gives you everything you need to turn your brightest ideas into your best work across your desktop and mobile devices and share it with the world.”


otc-fall-2016On the left is the cover image for the fall issue of Off the Coast. In the coming days, the poem selections will be made and layout will begin.

With luck, this will be the first issue of OTC that will also be released as an eBook. By the end of the semester, I hope to also have an eBook of my own work available.

In the coming weeks, I’ll post further adventures in publishing, electronic publication, and a life among the bookish.

Stay tuned!

Weeks 3 & 4:Typography–The Thing and the Making of the Thing


Taking the 5 books we chose from the previous week, we were to comment on the aesthetic and practical considerations of our choices. After writing a short piece about each of the five, we selected one as our overall choice.

51kmofq9wvl-_sx330_bo1204203200_I chose The Children’s Blizzard by David Laskin. The book recounts the Great Blizzard of 1888, which swept across the Plains just as children were heading home from school. The morning of the storm had been unseasonably warm and many children did not wear coats, boots, hats, or mittens to school that day. This fine non-fiction book gives a wealth of background information and first hand accounts of this tragic event. The designer, along with the author, eases us into the story.

The design elements of this book are consistent on a micro and macro level.  For the sample text, I used the opening chapter. The heading is in small caps. The chapter title, Deaprtures and Arrivals, is large and italicized; there is an urgency to the italics. To begin the chapter, there is an ornament where a drop cap would be placed. The angle of the ornament matches the path of the storm, pointing from northwest to southeast. The typeface is fairly heavy, serif, but also conveys a sense of space typical of the Great Plains. These ornaments, doubled, are also incorporated as section breaks.

The book, a trade paperback with an elaborate cutaway cover, is a very nice package. The Children’s Blizzard, though a rather grim slice of history, is a very attractive book with an evocative title. The design elements do not detract in any way and enhance the telling of the story.

The text and design felt the most integrated in this book. There is a sense of direction and progression in both text and design. The ornamentation is both attractive and relevant. In an age where much of design is an attempt to make objects disappear into their function, this book partners design and function as equals. The experience of reading is enriched by the balance.

You can see The Children’s Blizzard here, using Amazon’s Look Inside! feature.

Our next assignment will explore typography and typefaces in more detail. Typography is an ancient art. If you look it up in the dictionary, you’ll find that it is both the appearance, style, or arrangement of words on a page and the act of creating the page. It is the thing and the making of the thing both. The immediate image that comes to mind is Escher’s drawing of the hands drawing the hands.

In the assignment we will use a double page spread from The House of Yorke and conduct a font test. Each student will select five different five typefaces, render the text in those typefaces, and print the samples. When we meet after winter break next week, we will create a gallery of our samples and select a typeface for the book. (We may select several typefaces and use different ones for the body of the book, headings, and other material.)

To get a sense of what a font test is like, visit TypeTester, where you can plug in sample text and select three typefaces to compare how they look. TypeTester has more than 2200 typefaces available.

I chose classic, old-style readable book typefaces like Palatino and Zapf Elliptical, both designed by the legendary typographer, Hermann Zapf. Palatino was Zapf’s first popular typeface and was based on his own calligraphy. There is a delightful video of Zapf demonstrating calligraphic technique:

Zapf Elliptical was developed by Zapf for Bitstream, one of the first foundries devoted to making digital fonts. Zapf also designed Optima, which was used to inscribe the names on the Vietnam Memorial.

photo: Evan Bench, Vietnam Memorial


Editing the copy of The House of Yorke is well underway.  The “Comma Team” has been giving it a close read and offering suggestions, from the large questions: should we expand the introductory material to include more background, to fact checking footnotes, and pointing out typos.  We have been working with a Google doc, which has made the task difficult at times. The ms has more than 500 pages but the Google doc has no chapter or section breaks.  For my own sanity, I finally started bookmarking the chapters and the contents to help with moving around in the document. There have been some weird formatting things going on in the document as well. Some of the footnotes have adopted a 36 point space after the paragraph. Footnotes do not have the “select all” function, so each one will have to be edited separately.  Also, a chunk of text went missing.  Fortunately, this is not the only copy of the ms.

When the editing is complete, the ms will go back to the editorial committee which will accept or reject our suggestions. Once this phase of the process is complete, The House of Yorke will move to the typography and art units.

Week 1. The House of Yorke



Over the course of the Spring 2016 semester, the ART 322 Book Design & Publishing Course at the University of Maine Machias will  take a manuscript of The House of Yorke, written by Mary Agnes Tincker in 1871 and turn it into a book. The manuscript was selected and prepared by English and Creative Writing students at the university.

From the manuscript Introduction: 

The House of Yorke is an intriguing novel that blends history into fiction… Mary Agnes Tincker wrote the book in 1871 with the intent of drawing attention to the persecution of Catholics in Maine… The House of Yorke offers a rare picture of events that might otherwise have been forgotten. Though the main plot of the novel focuses on the struggles of its young, fictional heroine, Edith Yorke, the setting and side story of Father Rasle are closely based on… John Bapst, a priest who suffered at the hands of an anti-Catholic mob in Ellsworth, Maine… The book deals with issues that are still relevant today—religious intolerance and bigotry against immigrants and their ways of life.

In the coming weeks I will be part of the team working on cover layout, interior design, printing, and binding. The completed book will be a critical edition added to the Library of Early Maine Literature, an imprint of the University of Maine Press.

Founded in 2010, the Library of Early Maine Literature is a scholarly imprint of the University of Maine at Machias Press. The mission of the series is to reissue rare and important works of Maine literature written before 1900 in beautiful, high quality editions that contain full supporting materials. These materials include critical introductions as well as notes and other forms of documentation. The Library of Early Maine Literature is overseen by an Editorial Review Board and operated by the English, Creative Writing, and Book Arts Program at the University of Maine at Machias.The goal of the Press is to reissue at least one work of Maine literature every two years.

Library of Early Maine Literature
Book Arts Studio, Dorward Hall
University of Maine at Machias
116 O’Brien Avenue
Machias, ME USA  04654


You cannot open a book without learning something.